Phoebe Aldridge

What a ‘Web’ they weave in Westfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Quick warning for arachnophobes: Main Street Productions has placed numerous toy spiders (some quite life-like) around the Basile Westfield Playhouse. Guess how many there are (fill in a form during the first intermission) to win a prize. However, (ironically) there are none on the stage.

Count on Agatha Christie to weave an entertaining tangle of intrigue, mystery, and humor – we get all this and more in “Spider’s Web,” presented by Westfield’s Main Street Productions, directed by Jan Jamison.

The setting is a big house in the English countryside (of course), Copplestone Court in Kent, in 1954. While Henry Hailsham-Brown (Kevin Caraher) is away on business for the British Foreign Office, his young and highly imaginative wife Clarissa (Phoebe Aldridge) spins tales and plays tricks on whoever is around. In this case, it’s her former guardian Sir Roland Delahaye (Syd Loomis), his old friend Hugo Birch (Jim Simmonds), and young friend Jeremy Warrender (Jeff Haber). Clarissa also cares for Pippa (Ava McKee), Henry’s school-age daughter from his first marriage who is still fragile after the bitter divorce.

The servants on hand are humble Elgin (Thom Johnson) and his wife (unseen), as well as Mildred Peake (Molly Kraus), the gardener who is quite the busybody and suspicious of everyone. An unwelcome visitor, Oliver Costello (Matt McKee), the new husband of Pippa’s mother, stops by. Also, this being a murder mystery, we will soon meet Inspector Lord (Larry Adams) and Constable Jones (Erin Chandler), with an audio cameo by Greg Vander Wyden as the Doctor called to inspect the body.

Along with the corpus delicti, we also have a rather interesting antique writing desk and the presence of a “priest hole,” a short passage to the library disguised by a bookshelf. And a deck of cards. And a volume of Who’s Who. So many details, in fact, that Clarissa spins a number of stories about the events of the evening, confounding and frustrating the Inspector as we work through the various clues to find who did the deadly deed, and why. (Observant viewers can work it out before the climax, this clueless reviewer nearly did!)

Aldridge is wonderful as the fanciful and well-intentioned lady of the house (Wendy notes that this play could have been subtitled, “Clarissa Explains It All”). Loomis has paternal charm in his supporting role. Kraus eagerly takes on quite an interesting character herself as one who is and knows more than she lets on. Adams makes an interesting sleuth, though the frustrating nature of this caper could make Inspector Lord glad that Christie called on other detectives for most of her stories. Seventh-grader Ava McKee makes a nice stage debut as imperiled Pippa.

The wit is sharp with physical humor and a bit of Pythonesque absurdity. It almost qualifies as a comedy – except for, you know, that body behind the sofa.

This humorous whodunit has four more performances, Thursday through Sunday, April 10-13, at Basile Westfield Playhouse, 220 N. Union St. (note there is some road and building construction in the area). Get tickets at westfieldplayhouse.org.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

Epilogue brings monster tale to life with radio magic

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By John Lyle Belden

When dealing with a familiar favorite story, the best part is in how it’s told.

In “Frankenstein: The Radio Play,” presented by Epilogue Players, Mary Shelley’s classic novel is presented as a radio drama produced in 1940s London – an escape from the horrors of the real world. Adapted by Philip Grecian from his stage play, based on Shelley’s 1818 book, the production gives us a theatre of the mind experience while providing a glimpse into how the audio magic is made.

The immersive experience goes a step further by not renaming the actors as British counterparts, and by including radio ads promoting every advertiser in the program. This may be the best promotion English Ivy’s restaurant and bar (in today’s Indianapolis, just down the street) has ever gotten.

Craig Kemp (actually from the U.K., by the way) voices the titular figure, Victor Frankenstein – whom any literature buff will note is the true “monster” of the novel – in fine fashion, from the soothing doctor in love to the ecstatic “it’s ALIVE!” during the creature’s “birth.” Other actors provide major and minor parts (the broadcast audience can’t see them, so switching is a manner of inflection, which they easily do). Principally, Alex Bast is the doctor’s friend and assistant, Henry Clerval; Dale W. Smith is their peer, Professor Waldman; Caity Withers, the studio announcer and producer, is Baroness Frankenstein; Phoebe Aldridge is young Catherine Frankenstein; Melody Simms is Catherine’s governess, Justine Moritz; Bella King is Victor’s cousin and fiancé, Elizabeth Frankenstein; Grant Bowen is Arctic explorer Capt. Robert Walton, as well as the blind man, Delacey; and Jason Creighton is The Creature (usually referred to by epithets, by himself as Adam/Lucifer, but never as his “father’s” name), giving an appropriately powerful rendition of the misunderstood beast.

Also deserving of star billing are foley artists Amanda Greene, Roger E. Dutcher, Karen Markle, and Zach Thompson, who undertake complex effects with as close as the era allowed to surround-sound. Seeing the various gadgets used only adds to the fun while their acoustical accuracy doesn’t break their spell. Daniel Watson directs and composed some of the music, performed by Bethany Watson on piano.

Glancing over the novel’s plot summary as well as various films from James Whale to Kenneth Branagh and variations including breakfast cereal and Abbot & Costello, I probably should make some notes of the story here. This play does start and end on Cpt. Walton’s ship approaching the North Pole. Henry sounds quite handsome, with no hunchback noted, and is a fellow scientist, not a servant. Also, a critical plot point, the brain supplied to the creature is that of a genius Victor admires (not “Abbie Normal”), which becomes evident at the Adam’s clarity after his initial mental fog, making his reasoned impulses for revenge more menacing. Finally, there is no postmodern wink or sight-gags among the English cast; this show is played for chills, not laughs.

Performances run through Feb. 26. Space is limited at the little theatre on Hedback Corner, 1849 N. Alabama St., and tickets are selling fast. Get yours at EpiloguePlayers.com.   

‘Curious’ and charming comedy in Westfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

If you are around stages long enough, eventually a community theatre will mount “The Curious Savage.” This 1950 gem by popular screenwriter and playwright John Patrick was maybe a little too sentimental for more than a premiere run on Broadway over 70 years ago, but contains a rich variety of themes and subtleties (starting with its title). It is also a gift for a neighborhood playhouse with its single stage set and nearly a dozen fun and interesting characters to perform. Thus, it arrives with Main Street Productions in Westfield.

On a typical day in post-WWII America, we meet people who are intelligent, friendly and a bit eccentric. At The Cloisters, a mental institution, this is the wing of those needing the least supervision. Something is a little off about each of the patients – something that if resolved could lead to their exit. But they take comfort in their present home, and eagerly await a new arrival. Miss Willie (Rachel Pope), the nurse, sends them to their rooms, as head psychiatrist Dr. Emmett (Tom Riddle) brings in Mrs. Ethel P. Savage (Tanya Haas), looking like a normal older woman of the era, carrying a huge teddy bear. She has been committed by her step-children – U.S. Sen. Titus Savage (Steven Marsh), socialite Lily Belle Savage (Jan Boercherding), and Judge Samuel Savage (Ian A. Montgomery) – who claim she has been acting too irrationally since her husband (their father) died. Ethel insisted on becoming (gasp!) an actress, and even worse, wants to take the millions of dollars she inherited and start a foundation to give it away.

After the relatives depart, the inmates (who had been eavesdropping) introduce themselves. Fairy May (Phoebe Aldridge) is gregarious and thoughtful, and constantly embellishing “facts” about her life. Hannibal (Thom Johnson) is a statistician, replaced by a calculating machine, who convinced himself he can play violin. Florence (Jennifer Poynter) dotes on her five-year-old son, the doll she carries in place of the child she lost in infancy. Veteran Jeffrey (Josh Rooks) carries his survivor’s guilt as an invisible (except to him) facial scar, and vaguely remembers he played the piano before the War. Mrs. Paddy (Lisa Warner) an aspiring seascape painter, was once told by her husband to “Shut up!” and she did, never speaking a word except, when emotional, she lists the things she hates – including electricity, which she gave up for Lent.

This wonderful, gentle comedy takes no cheap shots at the disordered. Enterprising methods of exercise, for instance, look silly but contain their own rational intent. While entertaining, we also see how their eccentricities become limiting, demonstrating their need for treatment. Where the “crazy” comes in is when the trio of Savages arrive to attempt to force Ethel to reveal what she has done with the family fortune. As Lily Belle betrays her classlessness, Samuel his whimpering indecision, and Titus his blowhard bluster (Marsh looks like his head will literally explode), the residents appear downright sane.

Haas keeps Ethel endearing, yet sly, charming, and conniving like a “Mame” or “Dolly” character in captivity. Her housemates also work their way into our hearts as they go to great lengths to maintain perpetual happiness. Pope and Riddle show the genuine concern their characters have for everyone’s wellbeing.

Director Nancy Lafferty has done an outstanding job with this American classic. Remaining performances are Thursday through Sunday, Oct. 6-9, at the Basile Westfield Playhouse, 220 N. Union St. For info and tickets, visit westfieldplayhouse.org.